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19th Century Philosophy > 19th Century German Philosophy > G. W. F. Hegel > Hegel: Aesthetics > Hegel: Classical Art

Hegel: Classical Art

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Hegel: Tragedy (12)
Hegel: Comedy (10)
Hegel: Classical Art, Misc (0)
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  1. Twice-Two: Hegel’s Comic Redoubling of Being and Nothing.Rachel Aumiller - 2018 - Problemi International 2:253-278.
    Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness and lacking (...)
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  2. Hegel's Philosophy of Art.Lydia L. Moland - 2017 - In Dean Moyar (ed.), Oxford Handbook of Hegel. Oxford: Oxford University Press. pp. 559-580.
    Despite Hegel’s effusive praise for art as one of the ways humans express truth, art by his description is both essentially limited and at perpetual risk of ending. This hybrid assessment is apparent first in Hegel’s account of art’s development, which shows art culminating in classical sculpture’s perfect unity but then, unable to depict Christianity’s interiority, evolving into religion, surrendering to division, or dissipating into prose. It is also evident in his ranking of artistic genres from architecture to poetry according (...)
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  3. 4. Winckelmann and Hegel on the Imitation of the Greeks.Michael Baur - 1997 - In John Russon & Michael Baur (eds.), Hegel and the Tradition: Essays in Honour of H.S. Harris. University of Toronto Press. pp. 93-110.
    According to some critics, the putative superficiality of Winckelmann's appropriation of the Greek legacy is just one instance of the emptiness that characterizes the appropriation of the Greeks by the Germans in general. Thus Eliza Maria Butler has spoken of the 'tyranny of Greece over Germany': 'If the Greeks are tyrants, the Germans are predestined slaves ... The Germans have imitated the Greeks more slavishly; they have been obsessed by them more utterly, and they have assimilated them less than any (...)
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Hegel: Tragedy
  1. Nasserism and the Impossibility of Innocence.Zeyad El Nabolsy - 2021 - International Politics Reviews 2021:1-9.
    One of the central strengths of Salem's analysis of Nasserism is that she recognizes both its world-historical significance as a progressive nationalist movement, and its severe limitations. In the first section of this paper, I discuss Salem's notion of the "afterlives" of the Nasserist project by drawing attention to one of the most debilitating legacies of that project, namely the transformation of Egyptian politics into petty bourgeois politics. In the second section, I argue that while Salem does not explicitly draw (...)
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  2. I Nomi Degli Dei: A Reconsideration of Agamben’s Oath Complex.Robert S. Leib - 2020 - Law and Critique 31 (1):73-92.
    This essay offers an exegesis and critique of the moment of community formation in Agamben’s Homo Sacer Project. In The Sacrament of Language, Agamben searches for the site of a non-sovereign community founded upon the oath [horkos, sacramentum]: an ancient institution of language that produces and guarantees the connection between speech and the order of things by calling the god as a witness to the speaker’s fidelity. I argue that Agamben’s account ultimately falls short of subverting sovereignty, however, because the (...)
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  3. Pure Joke: An Introduction.Katrin Trüstedt & Christian Kirchmeier - 2019 - Brecht Yearbook 44:81–84.
    This special section on comedy since Brecht argues that the rise of performativity and theatricality that we have experienced over the past century was largely enabled by a comic dispositif. This comic dispositif - forged beyond the illusionistic dramatical and cultural forms of the eighteenth and nineteenth centuries - has greatly shaped the performative strategies of modern theater.
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  4. Alienation and Affirmation: The Comedy of Heiner Müller’s Hamletmaschine.Katrin Trüstedt - 2019 - Brecht Yearbook 44:102-121.
    Against the tendency to regard Müller as a tragedian and his Hamletmaschine as a tragedy, I will read his play as an experiment on the possibility of comedic theater after Brecht. Hamletmaschine can thus be understood as an attempt to affirm the possibilities of theater and its own forms of estrangement without abstracting from tragedy, alienation, and negativity. The play contains three such models internally connecting alienation and affirmation: while “Hamlet” in his commitment to the negativity of a lost tragedy (...)
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  5. "And Why Not?" Hegel, Comedy, and the End of Art.Lydia L. Moland - 2016 - Verifiche: Rivista Trimestrale di Scienze Umane (1-2):73-104.
    Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...)
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  6. Hegel's Speculative Theory of Political Life: Community and Tragedy in the "Phenomenology of Spirit".Theodore Dennis George - 2000 - Dissertation, Villanova University
    This dissertation provides a careful interpretation of Hegel's conception of political community in the Phenomenology of Spirit. It is often accepted by commentators that for Hegel in this text the highest achievements of community life are to be associated with the realization of 'absolute spirit' and 'the concept.' The author of this dissertation, however, develops a conception of political community based not upon this view, but instead upon a number of crucial, if somewhat oblique, passages within the Phenomenology dedicated to (...)
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  7. Tragedies of Spirit: Tracing Finitude in Hegel's Phenomenology.Theodore D. George - 2006 - Albany, NY, USA: State University of New York Press.
    In Tragedies of Spirit, Theodore D. George engages Hegel’s Phenomenology of Spirit to explore the philosophical significance of tragedy in post-Kantian continental thought. George follows lines of inquiry originally developed by Nietzsche, Heidegger, Gadamer, and Derrida, and takes as his point of departure the concern that Hegel’s speculative philosophy forms a summit of modernity that the present historical time is called to interrogate. Yet, George argues that Hegel’s larger speculative ambitions in the Phenomenology compel him to turn to the resource (...)
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  8. Tragedy, Recognition and the Death of God. [REVIEW]Paul Redding - 2013 - Notre Dame Philosophical Reviews 201307.
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  9. Review of Engel, The Problem of Tragedy. [REVIEW]D. C. B. - 1961 - Review of Metaphysics 14 (4):723-723.
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  10. Beyond Tragedy: Tracing the Aristophanian Subtext of Hegel's Phenomenology of Spirit.Karin de Boer - 2010 - In Kimberly Hutchings & Tuija Pulkkinen (eds.), Hegel's Philosophy and Feminist Thought: Beyond Antigone? Palgrave-Macmillan.
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  11. Hegel, Antigone, and First-Person Authority.Victoria I. Burke - 2010 - Philosophy and Literature 34 (2):373-380.
    Hegel thought Sophocles' Antigone was the finest tragedy, and he put drama atop his hierarchy of the arts, precisely at the point where his system transitions from aesthetics to the philosophy of religion. Hegel concluded his Aesthetics by writing, "Of all the masterpieces of the classical and modern world, the Antigone seems to me to be the most magnificent and satisfying work of art."1The Antigone owes its place in Hegel's hierarchy to its focus on Antigone's uncanny self-certainty. Positioned at the (...)
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  12. Antigone’s Transgression: Hegel and Bataille on the Divine and the Human.Victoria I. Burke - 1999 - Dialogue 38 (3):535-.
    I maintain that Hegel’s reading of the Antigone underestimates the power of the negativity to which Antigone’s action is dedicated. I argue that the negativity of death and the sacred cannot, contrary to Hegel, to be sublated and thus incorporated into the progression of Spirit. Bataille’s treatment of the sacred better characterizes the unworldly force and the otherness with which Antigone and Creon are confronted when their actions bring the divine and the human into conflict. Antigone’s obedience to what she (...)
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Hegel: Comedy
  1. In the Court of the Jester: On Comedy and Democracy.Cade M. Olmstead - 2019 - Kritika and Kontext 1 (56):142-147.
    This paper seeks to make an assessment of the current political landscape with regard to the way comedy gets deployed as a form of political rhetoric and action. It begins with Alenka Zupančič’s analysis in 'The Odd One In' (2008) of G.W.F. Hegel’s developmental account of ancient Greek theatrical forms. The conclusion of comedy as a concrete universal is then expanded through reference to the performance theory of JeffreyC. Alexander. Attention is given to ineffective forms of comedy as political action, (...)
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  2. Race, Racism and Political Correctness in Comedy - A Psychoanalytic Exploration.Jack Black - 2021 - Abingdon, UK: Routledge.
    In what ways is comedy subversive? This vital new book critically considers the importance of comedy in challenging and redefining our relations to race and racism through the lens of political correctness. -/- By viewing comedy as both a constitutive feature of social interaction and as a necessary requirement in the appraisal of what is often deemed to be ‘politically correct’, this book provides an innovative and multidisciplinary approach to the study of comedy and popular culture. In doing so, it (...)
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  3. “A Form of Socially Acceptable Insanity”: Love, Comedy and the Digital in Her.Jack Black - 2021 - Psychoanalysis, Culture and Society 26 (1):25-45.
    In Spike Jonze’s Her (2013), we watch the film’s protagonist, Theodore, as he struggles with the end of his marriage and a growing attachment to his artificially intelligent operating system, Samantha. While the film remains unique in its ability to cinematically portray the Lacanian contention that “there is no sexual relationship,” this article explores how our digital non-relationships can be re-approached through the medium of comedy. Specifically, when looked at through a comic lens, notable scenes from Her are examined for (...)
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  4. Pure Joke: An Introduction.Katrin Trüstedt & Christian Kirchmeier - 2019 - Brecht Yearbook 44:81–84.
    This special section on comedy since Brecht argues that the rise of performativity and theatricality that we have experienced over the past century was largely enabled by a comic dispositif. This comic dispositif - forged beyond the illusionistic dramatical and cultural forms of the eighteenth and nineteenth centuries - has greatly shaped the performative strategies of modern theater.
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  5. Alienation and Affirmation: The Comedy of Heiner Müller’s Hamletmaschine.Katrin Trüstedt - 2019 - Brecht Yearbook 44:102-121.
    Against the tendency to regard Müller as a tragedian and his Hamletmaschine as a tragedy, I will read his play as an experiment on the possibility of comedic theater after Brecht. Hamletmaschine can thus be understood as an attempt to affirm the possibilities of theater and its own forms of estrangement without abstracting from tragedy, alienation, and negativity. The play contains three such models internally connecting alienation and affirmation: while “Hamlet” in his commitment to the negativity of a lost tragedy (...)
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  6. "And Why Not?" Hegel, Comedy, and the End of Art.Lydia L. Moland - 2016 - Verifiche: Rivista Trimestrale di Scienze Umane (1-2):73-104.
    Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...)
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  7. Hegel's Speculative Theory of Political Life: Community and Tragedy in the "Phenomenology of Spirit".Theodore Dennis George - 2000 - Dissertation, Villanova University
    This dissertation provides a careful interpretation of Hegel's conception of political community in the Phenomenology of Spirit. It is often accepted by commentators that for Hegel in this text the highest achievements of community life are to be associated with the realization of 'absolute spirit' and 'the concept.' The author of this dissertation, however, develops a conception of political community based not upon this view, but instead upon a number of crucial, if somewhat oblique, passages within the Phenomenology dedicated to (...)
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  8. Tragedies of Spirit: Tracing Finitude in Hegel's Phenomenology.Theodore D. George - 2006 - Albany, NY, USA: State University of New York Press.
    In Tragedies of Spirit, Theodore D. George engages Hegel’s Phenomenology of Spirit to explore the philosophical significance of tragedy in post-Kantian continental thought. George follows lines of inquiry originally developed by Nietzsche, Heidegger, Gadamer, and Derrida, and takes as his point of departure the concern that Hegel’s speculative philosophy forms a summit of modernity that the present historical time is called to interrogate. Yet, George argues that Hegel’s larger speculative ambitions in the Phenomenology compel him to turn to the resource (...)
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  9. Specifications: Hegel, Heidegger, and the Comedy of the End of Art.Theodore D. George - 2003 - Epoché: A Journal for the History of Philosophy 8 (1):27-41.
    In the “Postscript” to his Origin of the Work of Art, Heidegger suggests that one important aim of his investigation into the relation between truth and art is to subject to scrutiny Hegel’s famous thesis on the end of art. The purpose of my essay is to contribute to this project by reexamining aspects of Hegel’s discussion of art in the Phenomenology of Spirit that appear to subvert his own thesis. Hegel’s treatment of ancient Greek drama and, specifically, some of (...)
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  10. The Eternal Irony of the Community: Aristophanian Echoes in Hegel's Phenomenology of Spirit.Karin De Boer - 2009 - Inquiry: An Interdisciplinary Journal of Philosophy 52 (4):311 – 334.
    This essay re-examines Hegel's account of Greek culture in the section of the _Phenomenology of Spirit_ devoted to “ethical action”. The thrust of this section cannot be adequately grasped, it is argued, by focusing on Hegel's references to either Sophocles' _Antigone_ or Greek tragedy as a whole. Taking into account Hegel's complex use of literary sources, the essay shows in particular that Hegel draws on Aristophanes' comedies to comprehend the collapse of Greek culture, a collapse he considered to result from (...)
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